two chanters and two drones ~ all four pipes have cylindrical bores and single-blade reeds;
note the duct-tape patch, once again validating the theory that civilization would immediately collapse without this substance...

General Comments:

The Surdulina comes from the province of Calabria, near the southern end of Italy. While superficially reminicent of other Italian "Zampognas" (see pipes 9, 16 & 30), the Surdulina shows an eastern influence, perhaps because there is considerable cultural connection between Calabria and Albania, which lies a short distance away across the Adriatic Sea. This particular instrument was made by Hector Bezanis of San Francisco; it is a copy of a Surdulina brought to the U.S. by a Calabrian immigrant, Giorgio Stella, in 1903.

Musical Notes:

The Surdulina has a bright and lively, but not shrill, sound. While its range is not great, having two chanters provides many musical possibilities - as is the case with the other Zampognas, a total of four of which are represented here. The Surdulina is usually played solo, unlike most of the other Zampognas, which are often heard with another instrument such as the piffero (see pipe no. 16).

The scales and key signatures given may be regarded as approximations; bagpipes may deviate from conventional standards in absolute and relative pitch.

The Calabrian Surdulina (pronounced sir-du-leena') being played by Sean Folsom.

Detail showing the four pipes emerging from the common stock, in the style of many Zampognas. The two chanters are here seen at top and bottom, with the two drones between.

The red ribbon is found on many traditional Italian bagpipes; its function is to ward of evil. The object on the end of the cord is a pick used to apply (and manipulate) wax to the finger-holes for tuning.

The pipes out of the stock, showing the four one-piece single-bladed reeds.